Alexander Grodzinski

Intrada announces the premiere release of James Horner's first film score, the 1979 ganster-drama The Lady in Red. The producers and directors had a very specific vision for what the music should sound like: they wanted it to reflect the 1930s setting with a score that adapted songs from the period. This is most prominent in Horner's adapation of 42nd Street, composed by Harry Warren. James Horner was quite adept at scoring for jazz and big band ensembles throughout his prolific career. His adaptations and original jazz numbers are crisp and skillfully written. The dramatic music is scored for a modest orchestra of trumpets, trombones, acoustic guitars, woodwinds and percussion. There are no ensemble strings and there are no French horns or tuba. It makes Horner's first film score one of his more unique. For this release, thanks to the generous cooperation of the James Horner estate and Shout! Studios, Intrada was able to access the 2” 16-track 30 ips session masters, preserved in pristine condition and newly mixed down to vivid two-track stereo, quite possibly for the first time as the film itself was only mixed in mono sound. Every instrument was recorded onto its own track on the masters, with one exception: the trombone. Given the prominence of the instrument in certain cues, we have positioned the tenor trombone on the left and the second on the right. The resulting timbre is both vibrant and exciting. The film follows the life of young Polly Franklin (Pamela Sue Martin) from her childhood with an abusive father, through prostitution, to her run-in with John Dillinger (Robert Conrad), a notorious American gangster of the Great Depression.The Lady In Red’s originality lies in its feminist interpretation of the gangster film. 01. Theme From The Lady In Red (1:57) 02. Main Title Music – 42nd Street (0:35) 03. First Bank Robbery (1:15) 04. Now That You Know (0:58) 05. Lonely (1:55) 06. The Garden Party (2:14) 07. 42nd Street – Juke Box Source (1:12) 08. Playing Baseball (0:59) 09. Love Theme (Film Version) (1:58) 10. California (1:07) 11. Laying The Trap – Part 1 (0:32) 12. Laying The Trap – Part 2 (0:19) 13. Dillinger’s Death #1 (0:58) 14. Dillinger’s Death #2 (1:38) 15. Polly’s Slap (0:46) 16. The Getaway (0:45) 17. Eddie’s Goodbye (0:39) 18. Pop’s Death (0:30) 19. 42nd Street – The Eggs (0:38) 20. End Title (1:38) 21. Love Theme – Postlude (2:02) Score Time: 24:30 THE EXTRA 22. Oriental Blues (2:58) Total CD Time: 27:28

Snow Files of the Week: „Silver Moon/Drone Fever/Batting Practice/Package/Drone Rescue/Vacuum", aus „The X-Files", Episode „Rm9sbG93ZXJz" (2018). Diese Folge aus der 11. Staffel mit dem etwas seltsam anmutenden Titel (ein Base64-Code, der übersetzt „Follower" bedeutet), handelt von den Gefahren, die alles steuernde, künstliche Intelligenzen mit sich bringen können. In diesem Track hören wir im Grunde nur das, was die Titel versprechen: düstere droning sounds, die das Thema der seelenlosen Technik gut unterstützen. Die Musik stammt vom 2CD-Set von LLL, welches auf 3.000 Stück limitiert ist. Viel Spaß beim Hören!

Die älteren Boardmitglieder erinnern sich sicherlich noch an Bernd Junker. Er nennt eine große Musiksammlung sein eigen, nicht nur Filmmusik und betrieb eine zeitlang sogar einen eigenen Soundtrack-Shop. Nun haben sich seine Interessen allerdings geändert, ein Umzug steht auch an, daher löst er seine komplette Filmmusik-Sammlung auf. Ihr könnt Bernd gerne unter dieser Mail-Adresse erreichen: bj@ostenland.info und ihn mit der Suche nach einer bestimmten CD inkl. realistischem Preisvorschlag anschreiben. Preislich orientiert er sich an den bisher bei eBay erzielten Preisen. Zustand aller CDs ist mind. mint condition.

Kommt am 19.03.

It’s been a decade since John Carpenter recorded the material that would become Lost Themes, his debut album of non-film music and the opening salvo in one of Hollywood’s great second acts. Those vibrant, synth-driven songs, made in collaboration with his son Cody Carpenter and godson Daniel Davies, kickstarted a musical renaissance for the pioneering composer and director. In the years since, Carpenter, Carpenter, and Davies have released close to a dozen musical projects, including a growing library of studio albums and the scores for David Gordon Green’s trilogy of Halloween reboots. With Lost Themes IV: Noir, they’ve struck gold again, this time mining the rich history of the film noir genre for inspiration. Since the first Lost Themes, John has referred to these compositions as “soundtracks for the movies in your mind.” On the fourth installment in the series, those movies are noirs. Like the film genre they were influenced by, what makes these songs “noirish” is sometimes slippery and hard to define, and not merely reducible to a collection of tropes. The scores for the great American noir pictures were largely orchestral, while the Carpenters and Davies work off a sturdy synth-and-guitar backbone. The noir quality, then, is something you understand instinctively when you hear it. “Some of the music is heavy guitar riffs, which is not in old noir films,” Davies notes. “But somehow, it’s connected in an emotional way.” The trio’s free-flowing chemistry means Lost Themes IV: Noir runs like a well-oiled machine—the 1951 Jaguar XK120 Roadster from Kiss Me Deadly, perhaps, or the 1958 Plymouth Fury from John’s own Christine. It’s a chemistry that’s helped power one of the most productive stretches of John’s creative life, and Noir proves that it’s nowhere near done yielding brilliant results. “This is who we are, I think,” John summarizes. “Daniel’s the adventurer. He pushes for new sounds, new directions. He tries things that I haven’t thought of. He’s a lot more daring than I am, and he enriches the whole thing. Cody’s the musician. He’s a savant at music. He understands music. We depend on him to rescue us.” And what about John’s contribution? With characteristic understatement, he concludes: “I’m the experience. I’ve done music for movies before.” -Brad Sanders ***Sacred Bones Exclusive Color: Edition of 1000 copies, pressed on Red on Clear Splatter vinyl w/ Screen Printed 7" and a Silver Foil Stamped Jacket*** ***Sacred Bones Record Society version: Edition of 150 copies, pressed on Black and White Splatter on Clear vinyl w/ Screen Printed 7" and a Silver Foil Stamped Jacket, in an exclusive wrap around sleeve, wax sealed, hand-numbered and available by mail-order only. ENROLL HERE.*** All vinyl copies come with a massive 24x36" fold-out poster. Release Date 5/3/24 1. My Name Is Death 05:40 Video 2. Machine Fear 3. Last Rites 4. The Burning Door 5. He Walks By Night 6. Beyond the Gallows 7. Kiss the Blood Off My Fingers 8. Guillotine 9. The Demon's Shadow 10. Shadows Have A Thousand Eyes

Sacred Bones Records listet das Album seit heute auch offiziell. It’s been a decade since John Carpenter recorded the material that would become Lost Themes, his debut album of non-film music and the opening salvo in one of Hollywood’s great second acts. Those vibrant, synth-driven songs, made in collaboration with his son Cody Carpenter and godson Daniel Davies, kickstarted a musical renaissance for the pioneering composer and director. In the years since, Carpenter, Carpenter, and Davies have released close to a dozen musical projects, including a growing library of studio albums and the scores for David Gordon Green’s trilogy of Halloween reboots. With Lost Themes IV: Noir, they’ve struck gold again, this time mining the rich history of the film noir genre for inspiration. Since the first Lost Themes, John has referred to these compositions as “soundtracks for the movies in your mind.” On the fourth installment in the series, those movies are noirs. Like the film genre they were influenced by, what makes these songs “noirish” is sometimes slippery and hard to define, and not merely reducible to a collection of tropes. The scores for the great American noir pictures were largely orchestral, while the Carpenters and Davies work off a sturdy synth-and-guitar backbone. The noir quality, then, is something you understand instinctively when you hear it. “Some of the music is heavy guitar riffs, which is not in old noir films,” Davies notes. “But somehow, it’s connected in an emotional way.” The trio’s free-flowing chemistry means Lost Themes IV: Noir runs like a well-oiled machine—the 1951 Jaguar XK120 Roadster from Kiss Me Deadly, perhaps, or the 1958 Plymouth Fury from John’s own Christine. It’s a chemistry that’s helped power one of the most productive stretches of John’s creative life, and Noir proves that it’s nowhere near done yielding brilliant results. “This is who we are, I think,” John summarizes. “Daniel’s the adventurer. He pushes for new sounds, new directions. He tries things that I haven’t thought of. He’s a lot more daring than I am, and he enriches the whole thing. Cody’s the musician. He’s a savant at music. He understands music. We depend on him to rescue us.” And what about John’s contribution? With characteristic understatement, he concludes: “I’m the experience. I’ve done music for movies before.” -Brad Sanders ***Sacred Bones Exclusive Color: Edition of 1000 copies, pressed on Red on Clear Splatter vinyl w/ Screen Printed 7" and a Silver Foil Stamped Jacket*** ***Sacred Bones Record Society version: Edition of 150 copies, pressed on Black and White Splatter on Clear vinyl w/ Screen Printed 7" and a Silver Foil Stamped Jacket, in an exclusive wrap around sleeve, wax sealed, hand-numbered and available by mail-order only. ENROLL HERE.*** All vinyl copies come with a massive 24x36" fold-out poster. Release Date 5/3/24

Laut Music Box Records bekommen sie die beiden Bond-Titel erst Ende März. MV hat ja auch angekündigt, dass es für die Händler so lange dauern wird, weil LLL erstmal ihre noch offenen Bestellungen ausliefert, bevor die CDs dann zu den Händlern gehen.

Es ist ja quasi ein Sonderrelease, ähnlich wie die Bond-Scores. Keine Ankündigung vorher, sofort bestellbar und nicht wie sonst dienstags veröffentlicht. Was die Nachfrage betrifft, dürfte das schon auch auf einem ähnlichen Level wie Bond liegen. Und scheinbar verspricht sich LLL das auch davon, denn sonst hätte das Album wohl nicht die Sonderbehandlung und die 5000er-Auflage bekommen. Das dürfte in Fan-/Sammlerkreisen schon so was wie die Veröffentlichungen von BEVERLY HILLS COP und SCARFACE sein.

LA-LA LAND RECORDS FEELS THE NEED FOR SPEED!!! NEW RELEASE: MARCH 1, 2024 Available to order NOW at www.lalalandrecords.com “TOP GUN: LIMITED EDITION (2-CD SET)” Music by Harold Faltermeyer Limited Edition of 5000 Units RETAIL PRICE: $29.98 STARTS SHIPPING MARCH 11 The first 150 orders of TOP GUN will get a CD Booklet autographed by the composer at no additional charge. Autographs are available while supplies last and ARE NOT GUARANTEED. La-La Land Records, Paramount Pictures and Columbia Records present the world premiere official release of renowned composer Harold Faltermeyer’s (FLETCH, BEVERLY HILLS COP, THE RUNNING MAN) original motion picture score to the iconic 1986 aerial blockbuster action/drama TOP GUN, starring Tom Cruise and Kelly McGillis, and directed by Tony Scott. Composer Faltermeyer defined the 80’s film score pop-synth landscape with such legendary scores as BEVERLY HILLS COP and FLETCH only to re-define it further with TOP GUN, a propulsive and imaginative musical juggernaut that still inspires and influences film scores today – including the recent smash TOP GUN: MAVERICK. Aside from two previously released tracks, this remastered and expanded deluxe 2-CD presentation marks the first time Faltermeyer’s TOP GUN score has been made officially available in any format! Disc One showcases the brilliant film score, along with bonus demo cues, and Disc Two presents songs from the film, including the #1 hits “Danger Zone,” performed by Kenny Loggins and the Oscar-Winning “Take My Breath Away,” performed by Berlin – both co-written and produced by the great Giorgio Moroder – as well as “You’ve Lost That Lovin’ Feeling,” performed by The Righteous Brothers and more, plus additional bonus tracks. Produced by for La-La Land Records by Dan Goldwasser, mastered by Doug Schwartz and approved by the composer, this limited edition of 5000 units includes exclusive, in-depth liner notes by writer Tim Greiving, with new interview quotes from Faltermeyer, and high-flyin’ art design by Goldwasser. A must-have for all film music and pop culture fans that’ll take your breath away! TRACK LISTING: DISC 1 1. Main Title* 2:41 2. Carrier Takeoffs and Landings** 1:46 3. Two Migs, Not One†/Cougar Chased by Mig/Mav Flips the Bird*/Cougar’s Troubled Landing 6:58 4. Mav Goes to Fightertown** 1:49 5. Jester Flying*** 3:10 6. Tower Flyby* 1:10 7. Viper Comes Down on Mav 0:50 8. Mav and Goose In Room 2:06 9. Dinner at Charlie’s§ 1:32 10. Mav Says Goodbye to Charlie§ 2:40 11. Love Scene§ 3:41 12. Mav vs Viper 2:11 13. End Locker Room and Photo 0:46 14. Aerial Sequence** 1:27 15. Goose’s Death/Memories 4:10 16. Mav Reflects in Goose’s Room/Board of Inquiry/Charlie and Mav in Airport Bar 11:03 17. Viper’s House Pt. 1# 1:15 18. Viper’s House Pt. 2 1:57 19. Carrier Ready Room and Takeoffs# 2:47 20. Mav is Launched/Mav Bugs Out/Mav Returns to Battle#/Return to Carrier* 11:11 BONUS TRACKS 21. Top Gun Theme (original demo - May 4, 1985) 3:34 22. Top Gun Theme (revised demo - August 1, 1985) 4:18 23. Top Gun Theme (revised demo reprise - August 1, 1985) 4:12 TOTAL DISC 1 TIME = 77:58 DISC 2 1. “Danger Zone” - Kenny Loggins 3:36 2. “Mighty Wings” - Cheap Trick 3:51 3. “Playing With the Boys” - Kenny Loggins 3:59 4. “Lead Me On” - Teena Marie 3:47 5. “Take My Breath Away (Love Theme From “Top Gun”)” - Berlin 4:15 6. “Hot Summer Nights” - Miami Sound Machine 3:38 7. “Heaven In Your Eyes” - Loverboy 4:04 8. “Through the Fire” - Larry Greene 3:45 9. “Destination Unknown” - Marietta 3:48 10. “Top Gun Anthem” - Harold Faltermeyer & Steve Stevens 4:12 11. “(Sittin’ On) the Dock of the Bay” - Otis Redding 2:41 12. “Memories” - Harold Faltermeyer 2:55 13. “Great Balls of Fire” - Jerry Lee Lewis 1:50 14. “You’ve Lost That Lovin’ Feelin’” - The Righteous Brothers 3:42 15. “Playing With The Boys (Dance Mix)” - Kenny Loggins 6:41 16 .“Dog Fight #3” - Harold Faltermeyer 2:40 17. “Radar Radio” - Giorgio Moroder feat. Joe Pizzulo 3:42 BONUS TRACKS 18. First Shot of Mav and Goose (unused)* 0:53 19. Don’t Worry About the Mig (unused)§ 0:24 20. Top Gun Theme (extended album mix) 4:44 TOTAL DISC 2 TIME = 69:45 TOTAL ALBUM TIME = 2:27:43 * consists of “Top Gun Anthem” ** consists of “Danger Zone” *** consists of “Mighty Wings” § consists of “Take My Breath Away” † contains material not in film # contains an interpolation of “Top Gun Anthem” This is a CD format release.

Snow Files of the Week: Suite aus „Murder Between Friends" (1994). 1994 befand sich Mark bereits mitten in den X-Akten. Dennoch komponierte er auch immer noch Scores für diverse TV-Filme. Einer davon war „Murder Between Friends", für den Mark natürlich auch auf seine bereits bei den X-Files erprobten Sounds zurück griff. Dennoch ist der Score mehr als nur ein X-Files-light, dafür sorgen die bluesige E-Gitarre, die phasenweise eher an Eric Claptons Spiel in den Lethal-Weapon-Scores erinnert und die männlichen Solo-Vocals, die in direktem Kontrast zu den oftmals eingesetzten, weiblichen Klagegesängen stehen. Die Tracks aus der Suite stammen aus dem dritten Album der „Mark Snow Collection" von Dragon's Domain Records. Die CD ist auf 500 Stück limitiert. Viel Spaß beim Hören!

Sacred Bones Records und Carpenter selbst haben dieses Foto gepostet mit dem Titel „Big news awaits". Klingt wohl nach neuer Musik. Eventuell LOST THEMES IV?

Dann auch hier:

Ich erinnerte mich nur an die Diskussion hier :D

Klar, war quasi geschlossen wegen des Lagerumzugs. Und nein, ein EU-Shop in Großbritannien ist der wohl schlechteste Ort, von dem aus man Europa beliefern kann, was Zoll und Einfuhrabgaben betrifft.

Varèse hat seinen UK-Shop wieder eröffnet.

Und noch zur Ergänzung: Auch die beiden letzten Boingo-Alben aus den 80ern, BOI-NGO und DARK AT THE END OF THE TUNNEL, wurden remastered und erweitert veröffentlicht. Auf BOI-NGO gibt es als Bonus nun den Song „Mama", der als Neuaufnahme auf dem Album BOINGO ALIVE von 1988 enthalten war. Aufgenommen wurde er aber schon mal 1986. Diese Originalversion gibt es nun auf der CD zu hören. Dazu gesellen sich wieder alternative Versionen anderer Titel. 1 Home Again 2 Where Do All My Friends Go 3 Elevator Man 4 New Generation 5 We Close Our Eyes 6 Not My Slave 7 My Life 8 Outrageous 9 Pain BONUS TRACKS: 10 Mama 11 Pain (extended dance) 12 Not my slave (extended remix) 13 Weird science (Boingo dance) 14 Pain (Acappella) 15 Not my slave (dub dub mix) Bei DARK AT THE END OF THE TUNNEL gibt es leider nur Remixes der Songs als Bonus, kein neues Material. Angeboten hätten sich hier eventuell die etwas anders abgemischte Version von „Flesh and Blood", die auf dem Soundtrack zu GHOSTBUSTERS II enthalten ist und die Country-Version des Songs „Skin" vom Score-Album zu Elfmans NIGHTBREED. Letzterer wird allerdings nicht von Oingo Boingo interpretiert. 1 When The Lights Go Out 2 Skin 3 Out Of Control 4 Glory Be 5 Long Breakdown 6 Flesh 'N Blood 7 Run Away (The Escape Song) 8 Dream Somehow 9 Is This 10 Right To Know 11 Try To Believe BONUS TRACKS: 12 Out Of Control (Funky Vocal Mix) 13 Flesh N Blood (Extended Version) 14 Try To Believe (Midnight Run Soundtrack Version) 15 Out Of Control (Power Mix) Und außerdem wurde das 1994er Album BOINGO wieder auf Vinyl veröffentlicht.

Hellboy II: The Golden Army (2008) is the only collaboration, so far, between two icons of fantasy and horror cinema: director Guillermo del Toro and composer Danny Elfman. The sequel to del Toro’s 2004 hit Hellboy explored Mike Mignola’s comic-book mythology as the title character (Ron Perlman) and his allies at the Bureau of Paranormal Research and Defense must fight a mythical prince who seeks to reclaim Earth for magical creatures. Elfman’s grandly symphonic score for Hellboy II features large orchestra and choir, providing everything from pulse-pounding action to gothic scope and offbeat humor. There’s world music for the film’s “Troll Market,” homages to the great Bernard Herrmann (an Elfman idol) in “Doorway,” and surprising intimacy for Hellboy’s relationship with Liz (Selma Blair). It’s a delightful, fantastical romp as only Elfman can provide—and a perfect match for del Toro’s vision. “Anybody who does fantasy or horror well is somebody that I want to work with,” says Elfman in Daniel Schweiger’s new liner notes for The Deluxe Edition. Del Toro, for his part, wanted to differentiate the two Hellboy movies: “Hellboy II had an off-kilter and whimsical approach, yet one with undertones of darkness that I knew would be great for Danny. This was decidedly more melancholy because it looked at the illusion of fantasy... Everything is in decay, and that needed Danny to write a fantastic symphony for Mike Mignola’s universe.” Hellboy II: The Golden Army was released in a 20-track, hour-long program by Varèse Sarabande at the time of the film. The Deluxe Edition debuts a 39-track, 82-minute expanded score across two discs, with a 24-page booklet. Track List: CD 1 1. Introduction (from Hellboy II) 2. Hellboy II – Main Theme 3. Enter Mr. Wink 4. Auction House 5. Hallway Cruise 6. Intro Big Red * 7. Domestic Fight * 8. Where Fairies Dwell (unedited original version) # 9. Red’s OK * 10. Royal Family * 11. A Big Decision* 12. Manning Ridicule / Father And Son 13. Mein Herring 14. Teleplasty 15. Intimidated? / Secret Agent Suite * 16. Entering Troll Market / Marketplace Suite 17. Troll Market Source * 18. Troll Market Source (alt) * 19. Princess And Abe * 20. Search And Interrogation * 21. Reading Each Other * CD 2 1. Market Fight / Ground Wink 2. Little Informants / The Bean Suite * 3. Birth Of A God * 4. Elemental Flight 1 & 2 * 5. The Last Elemental 6. Big Decision 7. A Link * 8. Fuck - Used * 9. He’s Here * 10. Spear (film version) # 11. The Dilemma 12. Recollection * 13. They’re Off * 14. Doorway - Pts. 1-3 15. A Choice 16. Decision Made Pt. 1 & Pt. 2 Suite * 17. Army Chamber / Kill Them (film version) 18. Finale (from Hellboy II) (film version) *Unreleased Music #Extended Music

Expected to ship the week of March 22, 2024. Varèse Sarabande completes its trilogy of Deluxe Editions of John Powell’s magnificent scores to the How to Train Your Dragon series with How to Train Your Dragon: The Hidden World (2019). DreamWorks Animation’s third and final animated film is a heartfelt and bittersweet conclusion, written and directed by Dean DeBlois, as the “hidden world” of the title becomes a refuge for the dragons, which separate from humankind for their own protection. Composer Powell, working closely with the filmmakers, set the theme for the final film: “With love comes loss.” “He articulated that exact phrase when we were talking,” says DeBlois in Tim Greiving’s new liner notes, “and I put that in the script. I think it is a powerful idea, that if you’re going to engage in the euphoria of love, then you have to recognize that there will be pain, inevitably—pain and separation.” To complete the saga, Powell wrote a masterful, majestic score for large orchestra and choir, reprising themes from previous films and adding new ones in the best symphonic film music tradition. His ongoing Dragon collaborator, Icelandic singer Jónsi, wrote and performed the song, “Together From Afar.” Powell’s Dragon scores are admired and beloved for their themes, emotion and symphonic majesty. This 2-CD set Deluxe Edition of The Hidden World is released in conjunction with Omni Music Publishing’s full printed score, allowing fans and scholars a rare opportunity to appreciate both the recordings and the written compositions of a pivotal work. Track List: CD One: 1. Rescue Mission - Busy Busy Berk 2. Marry Her-Grimmel’s Terms 3. Legend Has It 4. Mysterious Creature 5. Toothless In Love 6. Dart Trap 7. Grimmel Visit-First Fight 8. Town Hall Speech-Exodus 9. Setting Up Camp 10. Valka’s Warning 11. Forbidden Courtship 12. Toothless Flies Alone 13. Near Miss Valka 14. Romance In The Clouds 15. New Berk Feast 16. Ambush-Cage Fight 17. Stronger Together 18. New Island 19. Into The Hole 20. The Hidden World * 21. With Love Comes Loss CD Two: 1. Grimmel’s Surprise 2. The Hiccup I Know-Armada Battle 3. Ultimate Sacrifice-Freedom 4. Viking Wedding-Boat Epilogue 5. Together From Afar (How To Train Your Dragon: The Hidden World) # 6. The Hidden World Suite Bonus Tracks: 7. Busy Busy Berk 8. Legend Has It 9. Forbidden Courtship 10. Toothless Flies Alone 11. Romance In The Clouds 12. Viking Wedding Music Composed and Produced by John Powell * Composed by John Powell and Jonsi # Composed and Performed by Jonsi Produced by Emile Hayne and Jonsi

Ja, er hat mittlerweile auch den Alter-Mann-Gang. Gut, er ist nun auch schon Mitte 70 und hat jahrzehntelang gequalmt wie ein Schlot. Dazu viele Chicken Wings, wenn er sich Basketball ansieht. Aber ja, ist schon seltsam mit anzusehen, wie die eigenen Idole alt werden. Vor allem waren sie gefühlt noch vor fünf Jahren Anfang/Mitte 50. Bei jemandem wie Schwarzenegger, der sein Leben lang Fitness gemacht hat und immer der Actionheld war, finde ich es sogar noch seltsamer, wenn ich ihn nun auch mit diesem Alter-Mann-Gang sehe. Und diesen weißen Rentner-Sneakern.

Snow Files of the Week: "El Lobo/Sling Blade" aus "The Lone Gunmen" (2001). Das kurzlebige X-Files-Spin-Off hat, auch durch seine drei Hauptdarsteller, einen humoristischen Ansatz. Die Folgen sind bei Weitem nicht so düster wie bei den X-Akten, obwohl David Duchovny in einer Episode einen Auftritt als Mulder hat und das Ganze natürlich im X-Files-Universum spielt. Die Serie endet mit einem Cliffhanger, der in der neunten Staffel der X-Akten, in der Folge "Jump the Shark", aufgelöst wird. Die "Lone Gunmen" (der Titel bezieht sich auf die Zeitung, die die drei publizieren und darin angebliche Regierungsverschwörungen aufdecken, gewählt wegen des angeblich "Einzigen Schützen" Lee Harvey Oswald, der Kennedy erschossen hat) helfen Mulder bei den X-Akten immer wieder mit ihren technischen Fähigkeiten. Mark Snows Musik ist ebenfalls weit weniger düster als die der Mutterserie. Er benutzt das schmissige Hauptthema in verschiedenen Variationen innerhalb seiner Musik und liefert hier und da sogar sehr James-Bond-mäßige Agentenmusik ab. La-La-Land Records veröffentlichte eine CD mit der Musik, limitiert auf 2000 Stück. Die CD enthält außerdem noch Musik der vierten Chris-Carter-Serie HARSH REALM. Das Album ausverkauft. Viel Spaß beim Hören!

Eine nette kleine musikalische Analyse von Carpenters HALLOWEEN Thema:

Varèse will nun wohl noch stärker ins Vinyl-Geschäft einsteigen und hat dafür eine neue Serie gestartet. Dafür verfolgen sie nun wohl das Modell von Waxwork und Co.: Schön bunt und mit Extras wie Postern. Coming soon to a turntable near you! Reel Cult is our brand-new soundtrack revival series for cinephiles, crate-diggers, and nostalgia nomads alike. Resurrected from the depths of bygone video stores and midnight repertory theaters, Reel Cult resurfaces the wildest B-movie soundtracks, cult classic creature features, Blaxploitation cinema, Wild West revenge sagas, and spine-tingling horror flicks that never stopped spinning in your head. Butter your popcorn, cue your tonearm, and crank that receiver to 11, because Reel Cult is coming to an independent record store near you on April 20th for Record Store Day 2024. Kicking off our series are two equally rambunctious titles, legendary composer Ennio Morricone's score for Orca, and the soundtrack to the classic Blaxploitation film Black Girl. Keep reading to get the lowdown. ENNIO MORRICONE - ORCA (MUSIC FROM THE MOTION PICTURE The only animal other than man who kills for revenge… is ORCA! Italian Maestro extraordinaire Ennio Morricone trades in his six-shooters for harpoons as he attacks the most dangerous creature in the sea, the killer whale! Morricone expertly instills his score with compassion for the oceanic familicide victim while echoing the whale’s vengeful bloodlust in a complex and rich soundtrack to the aquatic thriller. Available on vinyl in North America for the first time! Pressed on "Blood In The Water" colored vinyl, packaged in a tip-on jacket with brand-new liner notes and a fold-out poster. Dip your toes in, if you dare! VARIOUS ARTISTS - BLACK GIRL (ORIGINAL MOTION PICTURE SOUNDTRACK) Smooth Soul-Jazz at its best! Fantasy Records house producers/songwriters/engineers Ray Shanklin, Ed Bogus and Jesse Osborne collected the best soul vocal stylists including Betty Everett & Rodger Collins, and paired them with jazz giants like Merl Saunders and Sonny Stitt, to create an unforgettable musical tapestry for Ossie Davis’ seminal cinematic social commentary, 1972’s Black Girl. The music and score to Black Girl – as integral to the film as it is – makes for a timely and timeless stand-alone record as well. As fresh today as it was on its release fifty-plus years ago, Black Girl is one gem you’ll never forget. This long-sought-after rarity was cut (AAA) from the original analog tapes, and is pressed on 180-gram Clear Black Swirl-colored vinyl. Completing the package is a classic tip-on jacket.

Bereits in den 90er Jahren war ein Kinofilm zu EIN COLT FÜR ALLE FÄLLE geplant. Damals wohl noch mit George Clooney in der Hauptrolle. Nun ist Ryan Gosling Colt Seavers.

Snow Files of the Week: "Hypothermia/Scully's Discovery/Mulder's Email Message/Skinner helps Scully", aus "The X-Files", Folgen "Colony" und "End Game". Verschiedene Tracks aus zwei der wohl bekanntesten X-Files-Episoden. Mulder liegt wegen Unterkühlung im Koma und wird in ein Krankenhaus in der Arktis gebracht. Scully eilt zu ihm, nur um am Monitor zu sehen, wie Mulders Herzsignale verstummen. Marks Musik beginnt ruhig und wird dann immer treibender, um Scullys Eile zu Mulder zu kommen zu untermalen. Die restlichen Stücke stammen aus verschiedenen Szenen der Folge "End Game". Scully entdeckt ein seltsames Retro-Virus im Blut des ausserirdischen Kopfgeldjägers. Sie versucht verzweifelt, Mulder zu erreichen, kurz bevor Assistant Director Skinner auf dem Weg zu Scully in einem Fahrstuhl mit dem geheimnisvollen Informanten "X" in einen Zweikampf gerät. Die Musik wurde auf dem zweiten Set von LLL veröffentlicht. Dieses ist limitert auf 3000 Stück und ist mittlerweile ausverkauft. Viel Spaß beim Hören!